Edward Enninful discusses Modern Britain: 'Britain Feels Less Tolerant Now' Than We Were Decades Ago.

A chance encounter while riding the tube in 1988 altered the path of a teenage Ghanaian immigrant to Britain. Scouted as a model, Edward Enninful was swiftly pulled into the capital's electric 1990s cultural landscape, progressing from mannequin to stylist and, by the age of 18, becoming the style editor of the iconic i-D.

"That era was the height of the Young British Artists – Jay Jopling, Tracey Emin. I met Kate Moss at a casting," he recalls. "Then Naomi Campbell for a cover, and I felt we’d be kindred spirits. We all mixed across disciplines. Friday rolled into Saturday into Sunday. I yearn for that spontaneity."

If Enninful sounds wistful, he is far from alone. Recently, a fond idealisation of the 1990s has grown intense. But over the last thirty years, Enninful perceives a significant change. "In my view, we’re less accepting now than we were in the 90s," he observes. "It’s not even this country – it’s worldwide."

A Perceived Regression

This change is hard to ignore: the growth of far-right politics, the pushback against so-called "wokeness", and the return of Eurocentric beauty standards. In place of the optimism of the previous decade, currently a more divisive political force appears as a possible leader. Furthermore, the Union Jack, once an symbol of Cool Britannia, has become contentious again.

According to Enninful, the response has consistently been to champion culture in all its multifaceted forms. This was the driving force behind his first issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, including a wide range of cultural icons from music.

"Those in a position of influence should employ it," he comments, discussing those editorial decisions. "Everyone talks about immigration; I would not be in this position if Britain was not a open country, if it hadn't given my family a home and an education. That’s the Britain I cherished. I trust this phase will fade."

A New Wave of Consciousness

He finds hope in the youth of today: "They are far more conscious than we were. They discuss implicit prejudice – I had no concept what that was."

The beginnings of his career would define a pioneering career built on boldness and diversity. Enninful set a precedent as the first male, first black man, first gay man, and first disabled gay man of colour to take the helm at British Vogue. His leadership featured landmark covers showcasing people of diverse backgrounds, curvy models, older individuals, and individuals from varied communities. Importantly, sales rose.

"When you ignore vast segments of the population, it’s not just that you’re excluding people – it’s a poor strategy," he explains.

Beyond the Magazine World

He has recently launched his agency EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He says he wants to continue being a "change-maker".

"My nature is to challenge the conventional wisdom. I was brought up in a place where Black professionals were the norm – the physicians, the lawyers, the leader. Then we arrived in England, with nothing, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were stopped by the police the Sus laws … all that gave me a unique perspective on the inside and the outside."

In contrast to the stereotype of industry figures as brash and highly strung, Enninful is measured in tone and exudes calm. His journey has included its share of challenges, including well-documented struggles with depression and substance use.

He has also faced serious health challenges, having undergone several surgeries on his eyes, resulting in limited vision. "I experienced such a difficult period for two years, away from work, anxious I was going to lose my sight. It’s comparable to PTSD; you just live in fear 24/7. I prayed, if this ever ends, I’m just going to pursue all that I was so fearful to do. I’m not going to restrict myself to just being an editor or a fashion person."

A Foray into Curation

This drive to fit into a box has propelled him beyond the realm that established him. He is now curating a seminal 1990s exhibition at Tate Britain, featuring work by a roster of influential artists and photographers from the era. The show, he notes, aims to capture the decade's artistic collaboration – and spotlight those who did not receive a spotlight at the time.

"Institutions sometimes neglected to shine a light on the truly innovative creators because they weren't of the right pedigree," he states.

This venture itself operates on a unique approach, eschewing traditional advertising in favour of partnership-based projects. "We ask, what can we achieve in partnership? Is it an experience, a series? The magazine is a piece within a broader vision."

An Unstoppable Drive

Today, Enninful stands as one of the world's most powerful creative power brokers. His journey, he feels, is a testament to the power of pursuing your passions.

What would the Edward of the 90s react to the Edward of today? He laughs heartily. "He would be astonished, but he’d be impressed. At that time I was sceptical of institutions. I didn't think institutions like Tate were necessarily for me."

He reflects. "Nothing is assumed. We were displaced, we left our homeland. I nearly lost my vision. So there is no room for fear. People have doubted me my entire life. But nothing can stop me once I’ve decided to do something."